Right on Rolo!!
I mean someone in Joviland should take into consideration your blueprint for an eventual followup release in 2017.
As long as the sales, specifically in the U.S., remain strong moving forward into next year, this idea in some capacity would have to be strongly considered by the powers that be.
Quite frankly, it certainly seems doable to me.

All We Are is probably like Army of One.....or this:
:p

It's a paywall.

But yeah, seems interesting. If anybody's got access, please share the interview!

I'm looking forward to hearing these songs come to life in an arena. I'm sure we'll get a bunch of webcasts too... I hope we get more Burning Bridges live tracks too...

Now that Jon reconciled with his record company, Burning Bridges isn't really a throwaway album anymore... If he does multiple nights in the same cities, I could see Jon flipping Blind Love with Real Love.

This is a freaking awesome album !! It blows anything after 2000 out of the water !!

Even though Jon's vocal's are atrocious, I'm impressed by how well the songs sound live. I really hope that he doesn't drop most of the songs after the first shows. After the disaster that was Rock in Rio 2013, most of the 2013 tour, and the 2015 shows, I said to myself that I'd never spend money on this band again. However, I'm really thinking about getting a ticket for 2017 in order to hear some of those songs live.

Well done Bon Jovi !

Shorter sets, more of the newer stuff from BB and THINFS, less fillers, and relearn the hits...

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Sorry I think I missed something. Where can I get a copy of the London show audio?
:confused:

Here
 

Come On Up To Our House video is on BonJoviVEVO

Im not that interested in the videos - only watched THINFS - as i prefer the videos I make in my mind when I listen.

I bet Jovi's Devil in the Temple is nowhere near as good as the one in my head every time I hear it!

Fair enough, I didn't think much of the Knockout video but, as cheesy as it is, I absolutely love the video for Come On Up.

I agree that the video for Devil's is probably going to be a let down. I feel like I'll only be happy if it's filmed in a burning building with Jon screaming with anger at the camera for 3 minutes haha.

Maybe they're using a church :)

I really think the Come On Up To Our House video should have used the same house as the This House Is Not For Sale video.

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It's available on VEVO

Just read the whole interview, some interesting and somewhat little different answers. I'll translate the essential parts later for you all!

• The first video released, THINFS looks like it had the biggest budget of the 4.
  
• It seems like the pattern is to cut 2 videos per day/shooting so in essence to save money, it's probably equivalent to shooting 6 long videos... It has to be done this way because I'm sure there is a budget but as long as they are better than those Bounce videos that his brother shot, I'm cool....
  
• Jacob Dylan's son (Bob Dylan's Grandson) is the actor who looks like Elvis in the videos so they might have gotten him cheap as a way to give the kid some exposure...
  
• Jon stated that Labor of Love will be the only video that they will not be featured in as a way to pay homage to Chris Isaak Wicked Games...
  
• I think it's cools to get an album full of videos... To literally listen to an album while having the videos paint the image is a completely different experience... It's like reading the book and then seeing the movie after...

Someone help me out here. Which videos were shot and shot together that we know of so far?

I've translated the essential parts of the German SZ interview. Some questions were more or less the same than what he had already said in recent interviews, some others were more detailed. English's not my native language, so sorry for any grammar slips.

SZ: You've always had the reputation of a hard working man. Now you've taken a break of three years. Why?
JBJ: Let's put it this way: I went through a very dark tunnel. I'm not quite there yet, but I can see the light. Those have been three brutal years.

SZ: What happened?
JBJ: I had some deep identity crises. The record company whom I've worked with for thirty years has setup itself in a new direction and that has changed a lot for me. Then there were the personal setbacks: Our guitarist, my friend Richie Sambora, didn't show up for work one day - none of us has seen him in person ever since.

SZ: He has taken the route of solo career. Has he ever explained to you why?
JBJ: No. He was an unbelievably important ingredient to our band. But it would've been the wrong decision to end the band because of that. Even in the darkest months: the guys in the band were all there for me when I needed a shoulder to lean on. At one point we got past it. Especially our keyboarder David Bryan was just great - he managed it to shoulder a lot of what Richie did (the original word was "replace", but it was in a little different context, so I re-phrased it), even though he hadn't been involved in album productions at all over the years. It's really comfortable working with him since he's not dealing with same demons as Richie is.

SZ: You're talking about alcohol...
JBJ: Oh, Richie's had a lot of demons. Our drummer Tico Torres has been sober for 25 years now. I have been anyway. David Bryan has no issues with drugs.

SZ: Had there already been signs of your sidekick Richie Sambora leaving one day?
JBJ: During the cause of a huge tour six years ago he needed to go to rehab, so we had a replacement guitarist for a number of shows. We were aware of Richie's issues, one day he lost his driver's license, the other he was sleeping on the street. These stories are known. Each time he was back within two days. On the 2013 tour all seemed to go smooth. No drop-outs. After 20 shows we had a break and were set to continue in Calgary. I was already there one day prior to the show when Richie called and asked: "Is it ok if I arrive on the day of the show?" - "Sure, it's fine." The next day I got woken up by my manager in the hotel - which he usually only does when the hotel's on fire. He said: "Jon, we've got a problem". I instantly knew what was going on.

SZ: But you assumed that he was going to call you up eventually?
JBJ: We had a concert to play that night. We had 120 crew members relying on their paychecque. We had an agency paying us for 100 shows in advance. Those weren't peanuts.

...some of the answers we had already gotten...

JBJ: It was like he had been wiped off the face of earth. People keep asking: *What happened between the two of you?" I don't know! He could've said 'I'm done, can't go on like that anymore, don't want to share my art with the audience in this way anymore' - I would've understood that.

SZ: You're not mad at him?
JBJ: No, I can't be. This job's really torturing. He's chosen to take a different path and that's absolutely ok. He's a wonderful person and we've written some fabulous songs together. We were best buddies. Anybody would be blessed to be able to call someone like him his friend. But unfortunately he can't get a grip on his demons.

SZ: How did you work though this setback?
JBJ: After Calgary there were some 80 shows to play, one each few days. I had no time to think about it. I had a job to do, we also needed to somehow fill the giant black hole he had left to my right each night. On the last day of the tour, it was in December of 2013 in Australia, I didn't give a **** if I was ever gonna play another note in my life. I was burned out. For the whole of 2014 I didn't even pick up my guitar. All I felt were fear, anger, depression, sadness, anxiety. **** it, why should I put myself through all that again?

...then there are some comparisons to the situation around 1990 and the way the album came together (cover photo etc.)

...he then talks about originally not wanting to play live at all anymore and his wife asking him the essential questions

SZ: Which question?
JBJ: The question was: "Why?" I told her that I was just gonna play these 20 shows. She responded: "Why?" "Cause I want to make some cash." She said: "That's a shit answer!" And thought that she was right. There has to be more to it. I really have to want it, feel the desire for something new.

SZ: So what are you doing differently now?
JBJ: I've recently played a small concert in my hometown New Jersey. Just performing a few new tracks, that was all I wanted. But something was different than before: I kept telling stories inbetween the songs. Afterwards I asked people how they liked it. Everyone was telling me: "The songs are ok, but the stories were great!" In London the same thing happened: They wanted to hear these stories. We had a completely different atmosphere this time around. I like that direction. Let's see if I can find a way that's exciting for me, but at the same time keeps the average Joe who's just there for the hits entertained.

SZ: Can you point out what really helped you?
JBJ: These four little concerts did a lot for me. To stand on stage for two hours with a halfway working voice. I had had huge doubts as to whether I was able to sing at all anymore. I knew: If I'm not able meet my own demands, I'm done...

That's some cold hard truth Jon talking about his voice.

Has it been posted before? Itw for the Belgian radio station Classic 21 (with French overdub)


I'll post a transcript later if someone's interested but we've already heard/read most of what they said.

@4:15 Jon provided more details about why he chose to record at Avatar Studios: he explained that it wasn't a "going back to our roots" move but it rather came by accident, they used to record at his own studio in NJ then go to LA for overdubs because Richie and John Shanks lived over there but now that Richie's gone, he (Jon) lives in NYC and John doesn't mind going to NY, recording in a NYC studio was more practical for them.

Wow. I knew it was going to be pretty insightful, but that was... well, wow, pretty intense interview.

Thanks a lot for doing this. Your English is certainly much better than my broken german after taking lessons for 5 years ha ha ha ;)

On another topic: It's true what they say about a great song being able to be interpreted/applied to one's own life. In the wake of the U.S. election, Devil's In the Temple has taken on new significance, propelling it as being much more than about a record company dispute.

With Only 20,000 copies sold in U.K Plus 10 odd videos they must be costing label a fortune. No wonder label wanted to **** them off.

I don't think so, it must be costing Jon a fortune... unless he got a good contract with Tidal & al, which I'm sure of. Am I the only one who noticed the new copyright mention on the records (re/Spotify)? « 2016 Captain Kidd Corp., under exclusive license to Island Records, a division of UMG Recordings Inc. »

I figured Tidal offered to pay for 10 videos if they had exclusive rights to the concert stream. The amount of people they got to signed up probably covered the costs of the album, I doubt how the album is selling will bother Tidal much.

This House Is Not For Sale (2016) - Post Album Release Discussion
 

From JBJ's last comment in that interview about a halfway working voice, can we tell if he believes he can still sing up to a certain standard or not? I wasn't sure how to take that.


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I had the same thought this afternoon while I was driving and listening to the song. Of course, *I* would have had the same thought EITHER way the election turned out.

I'm wondering the same. Somehow I respect him for admitting he has problems with his voice. I also get the feeling that he truly believes and wants to improve his voice. I can really feel his pain in that interview. Not only about his voice, but the entire Richie drama. It's been a long time since I've read as open hearted interviews as the ones Jon has been giving lately.

Sadly after the initial charm of the first few listens I hadn't had the urge to listen to the new album since last week.

So I stuck it on tonight and apart from a few tracks (Living With The Ghost, Devil In The Temple, I Will Drive You Home) the album doesn't gel and features too any unremarkable songs. Some are blatant and embarrassing rip offs and others are plain awful i.e. Knockout.

Just like most post 2000 albums, THINFS has little staying power and features too many peaks and troughs for it to deliver a satisfying overall experience after multiple listens.

Jon definitely tapped into something special on parts of the album. Living with the ghost is truly uplifting, while Devil in the temple is the best rock song from the band in ages. I Will Drive You Home deserves praise too for flawless production and a deeper less obvious love song than you'd expect from modern day jbj.

I think if Jon followed his heart and made an album he wanted to without Shanks we could have had something special.

In my opinion, there is something special going on with this album... I'm trying to pinpoint exactly what that is but something is making this album sound very different than all of the past 2000 albums... I'm almost treating this album like it is its own stand alone album... When I listen to it, I'm not comparing it to anything else...

I'm not even missing Richie... I love the Shanks/Phil combo during the live shows... The only song I feel Richie's absence on is Real Love... I think a Richie harmony needs to be inserted, other than that I don't feel his absence...

I actually like the production too... There are parts of Jon's voice that I wish were more natural but besides that, I think the album sounds great... They used some great effects and even sound-wise it sounds really good... From the drumbeat emulating a heartbeat during Labor Of Love to the Electronic Vocal fade out in I Will Drive You Home...

With each interview, Jon seems to be opening up a little more...

Jon is such a high achiever and expects the best with everything that happens in his life... Not just with work but even down to friends and loyalty too... And I think that because of all of that, when things crash, it hits him hard because he see's them as failures of his doing... This results in Jon becoming real down and depressed...

One last point regarding the videos...

Tidal is not the record company so as someone pointed out, the 4 shows probably payed for the videos...

So more than 2 weeks have passed since I first listened to the album and I have to say that I still freaking love it. The only songs I tend to skip are Knockout and Real Love.
The 2 best track on the album IMO are Living With The Ghost and I Will Drive You Home.

Total agreement! I have to be in the mood for Knockout and Real Love usually hits when I'm not in the mood for something that slow.

I'm still loving the album. The only songs I consistently skip are Labor of Love and Real Love but that is typical for me as I'm not much of a ballad fan. On the other hand, I Will Drive You Home is one of my favorite songs in years.

I've found myself skipping Born Again Tomorrow already.

Labor Of Love is one of my top songs... TBH there isn't a song I skip, including the bonus tracks... I'm truly enjoying every song on this album...

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I'm only really struggling with Knockout. At this stage, I'm loving the rest. I'm surprised because THINFS and Knockout were the first two songs I heard and left me with low expectations. For the first time in a long time, I hear an album with a bit of depth lyrically.

Someone posted the other day that Burning Bridges and THINFS have given us a lot of great material that I wouldn't have expected given every release since 2000. I agree 100%.

It seems like this interview wasn't posted here before so here you are: another video (with lots of gesturing) from the London press junket session:

http://www.virginradio.it/video/vide...-for-sale.html

I like it and think it's well written. I just have to be in the mood for most ballads and I'm usually not. LOL I typically prefer something more upbeat or not a love song if it's a slow song.

What the fck is going on with Spotify?I'm sure that it's part of the deal with Tidal...